Bill Evans - Complete Village Vanguard Recordings, 1961 MP3 Download

Complete Village Vanguard Recordings, 1961 songs On paper it seems as if such titanic and distinctive musical personalities as Thelonious Monk and John Coltrane might not mix very well, but this stellar set, recorded live at Carnegie Hall in 1957, plays almost like a blissful extended duet between the two (with support from a sensitive yet hard-swinging bassist and drummer). The opener, "Monk's Mood," for example, features the composer/pianist's typically brilliant, idiosyncratic playing, while Coltrane floats over the top in the most lyrical of modes. Monk, in particular, is a master of tension-and-release tunefulness, creating rhythmic and harmonic intricacies that seem to spur Coltrane's saxophone exploration to new heights. The quartet shines on ballads ("Sweet and Lovely"), but the leaders display their best chemistry on the Monk's thorny, uptempo bop numbers. "Evidence" and "Epistrophy," for instance," have Monk adding rhythmic, dissonant punctuation to Coltrane's torrential stream of ideas, creating a thrilling push-pull balance. A superb date, and a must for fans of both artists, AT CARNEGIE HALL captures two of jazz's most important figures working in perfect symbiosis. Recording information: Carnegie Hall, New York, NY (11/29/1957). Personnel: Thelonious Monk (piano); John Coltrane (tenor saxophone); Ahmed Abdul-Malik (bass instrument); Shadow Wilson (drums). Liner Note Authors: Larry Appelbaum; Robin D.G. Kelley; Ira Gitler; Lewis Porter; Amiri Baraka; Stanley Crouch; Ashley Kahn. Award Winner

Complete Village Vanguard Recordings, 1961 buy CD music Contains previously unreleased material. Some of the recordings on the CELLAR DOOR SESSIONS were originally released in edited form on the 1971 double-LP LIVE EVIL. There is an entire universe contained in this box. Sumptuously packaged and scrupulously annotated, CELLAR DOOR SESSIONS 1970 is a six-disc set that documents Miles Davis's extended residency at the Washington, D.C., club. Davis is backed by a group of genius musicians: keyboardist Keith Jarrett, drummer Jack DeJohnette, bassist Michael Henderson, saxophonist Gary Bartz, percussionist Airto Moreira and guitarist John McLaughlin (who appears only on the last two discs). Together they pioneered an ecstatic fusion of jazz, rock, funk, and abstract sound-painting that established the blueprint for the future of progressive music. Each disc contains a different live set, and while songs are often repeated across the set lists, no two tracks sound the same. The players improvise at a fever-pitch, pushing themselves to endless invention, and the ensemble's interplay--expressionistic, protean, and fierce--is near telepathic. The influence of rock artists like Sly Stone and Jimi Hendrix can be heard in the layering of deep funk rhythms and psychedelic inflections (especially with Miles's wah-filtered trumpet), but the overall sound seems to subsume and transcend the entire history of 20th century music. In a career full of musical innovation, this is some of Miles's most visionary work, and this essential set (which also boasts splendid remastering) documents it for a near-religious listening experience. Personnel: Miles Davis (trumpet); Miles Davis; John McLaughlin (guitar, electric guitar); Keith Jarrett (Fender Rhodes piano, electric organ); Michael J. Henderson (electric bass); Michael Henderson (bass guitar); Gary Bartz (soprano saxophone, alto saxophone); Jack DeJohnette (drums); Airto Moreira (percussion). Liner Note Authors: John McLaughlin; Keith Jarrett; Airto Moreira; Gary Bartz; Jack DeJohnette; Michael J. Henderson; Adam Holzman. Recording information: The Cellar Door, Washington DC (12/16/1970-12/19/1970). Introduction by: Bob Belden. Photographers: Jim Marshall ; Art Maillet; David Gahr; Urve Kuusik; Sandy Speiser; David Redfern.

Complete Village Vanguard Recordings, 1961 album for sale Gerry Mulligan's 1959 studio date with Johnny Hodges is one of the most satisfying sessions of his various meetings with different saxophonists for Verve, yet it was inexplicably the last to be made available on CD. With a hand-picked rhythm section consisting of pianist Claude Williamson, bassist Buddy Clark, and drummer Mel Lewis, and three originals contributed by each of the two leaders, everything gels nicely, though several tracks took more than three takes (in spite of liner note writer Nat Hentoff's assertions) to reach their final form. Mulligan contributed the gorgeous ballad "What's the Rush" (where he sat back to enjoy Hodges' solo and never plays his own horn), the easygoing swinger "Bunny," and the brisk cooker "18 Carrots (For Rabbit)," the latter which its composer would revisit with his Concert Jazz Band. The veteran alto saxophonist contributed the low-key ballad "Shady Side," the sassy blues "Back Beat" (later re-recorded by Hodges during a still unreleased 1960 studio meeting with Ben Webster), and "What It's All About," another potent blues. Throughout the date, the two saxophonists blend beautifully and complement one another's efforts, even though this was their only opportunity to record together in the studio. Sadly, no alternate takes or unissued numbers (at least two of which exist) have been added to this long anticipated reissue. ~ Ken Dryden Recorded at United Recorders, Hollywood, California on November 17, 1959. Personnel: Gerry Mulligan (baritone saxophone); Johnny Hodges (alto saxophone); Claude Williamson (piano); Mel Lewis (drums). Liner Note Author: Nat Hentoff. Recording information: United Recorders, Hollywood, CA (11/17/1959). Personnel: Gerry Mulligan (baritone saxophone); Johnny Hodges (alto saxophone); Claude Williamson (piano); Buddy Clark (bass); Mel Lewis (drums). Digi-Pak

Complete Village Vanguard Recordings, 1961 CD music The dramatic, spiraling inventions of Tyner lend a frenetic element to Coltrane's already intense lines, while Jones and Garrison find and rearrange nearly every rhythm and counter-rhythm imaginable. There are only four tracks here (spread out over two discs), but each--whether it's the fiery title track or the exhilarating take on "My Favorite Things"--is a study in artistry. Live Recording Recording information: Half Note, New York, NY (03/26/1965-05/07/1965). Author: Elvin Jones. Introduction by: Alan Grant. Photographer: Raymond Ross. ONE DOWN, ONE UP: LIVE AT THE HALF NOTE, recorded in the last year of the classic quartet's existence, captures John Coltrane, drummer Elvin Jones, pianist McCoy Tyner, and bassist Jimmy Garrison going full blast. Recorded a year after A LOVE SUPREME, Coltrane was already moving on to extended improvisation, stretching out a single composition for 15 or 20 minutes while deconstructing it from every conceivable angle, turning his saxophone into an instrument of relentless exploration. Personnel: John Coltrane (soprano saxophone, tenor saxophone); John Coltrane; Alan Grant (spoken vocals); Jimmy Garrison (double bass); McCoy Tyner (piano); Elvin Jones (drums). Liner Note Authors: Ravi Coltrane; Ashley Kahn.

Complete Village Vanguard Recordings, 1961 buy CD music Initial pressings of SEVEN STEPS are packaged with a deluxe metal spine. Also includes a 92-page booklet with rare photos, complete discography and essays by Michael Cuscuna and Bob Blumenthal. All tracks have been digitally mastered using 24-bit technology. In the 1960s, trumpeter Miles Davis became a star outside of the jazz world, first with what history refers to as "the Quintet" with Wayne Shorter and Herbie Hancock, then with his highly influential post-BITCHES BREW electric bands. But there was a "transitional" period, after John Coltrane left Davis's employ and before the Shorter/Hancock era, which the SEVEN STEPS box set based around the SEVEN STEPS TO HEAVEN album documents in its entirety, often in a live context. Davis was seeking the right combination of musicians for his sonic flights, where hard-bop and modal styles could be combined with a wide-open, increasingly elastic sound. Before settling on Shorter (present here), he tried the conventionally hearty, blues-accented bop approach of saxophonist George Coleman and the rippling, somewhat more avant-garde Sam Rivers. Both soar and sear at their respective best, providing remarkable contrast to Davis's magically cool horn. UK-born pianist Victor Feldman plays on some tracks, Hancock on others; the drum chair features Tony Williams (also an explorer of avant expression) and Frank Butler (a crackling, swinging mainstream bopper). SEVEN STEPS includes material originally available on the early-'60s albums IN EUROPE and FOUR & MORE, among others, with (attention, collectors!) the inclusion of eight previously unreleased tracks. Personnel: Miles Davis (trumpet); Miles Davis; Ron Carter (double bass); Tony Ruption Williams , Tony Williams (drums); George Coleman, Sam Rivers, Wayne Shorter (tenor saxophone); Victor Feldman, Herbie Hancock (piano); Frank Butler (drums). Audio Remixer: Mark Wilder. Liner Note Authors: Michael Cuscuna; Bob Blumenthal. Recording information: Berlin Philharmonic Hall, Berlin, Germany (04/16/1963-09/19/1964); Columbia 30th Street Studio, New York, NY (04/16/1963-09/19/1964); Columbia Studios, LA (04/16/1963-09/19/1964); Kohseinenkin Hall, Tokyo, Japan (04/16/1963-09/19/1964); Philharmonic Hall, New York, NY (04/16/1963-09/19/1964); The Festival Mondial Du Jazz Antibes, Juan-Les-Pins, Fr (04/16/1963-09/19/1964). Introduction bys: Billy Taylor ; André Francis; Terry Isono; Mort Fega. Photographers: Vernon Smith; John Wilkes; Ted Williams ; Joe Alper; Jan Persson; Roger Marshutz; Lee Tanner; Chuck Stewart.

Complete Village Vanguard Recordings, 1961 songs Though Bill Evans's work with his Paul Motian/Scott LaFaro group is rightfully celebrated, many of his later ensembles have been unjustly overlooked. One such unit is his trio with bassist Eddie Gomez and the great Philly Joe Jones on drums. CALIFORNIA HERE I COME, recorded live at the Village Vanguard in 1967, was first released in 1982 as a double album, and was reissued (on a single CD) by Verve in 2004. As with Evans's other trios, a subtle, dynamic, and infallible interplay is paramount. Evans's playing is as nuanced, fluid, and masterful as ever. However, there is another element with this group--an exuberance rarely heard in Evans's work. Gomez and Jones (the latter an old-school master who blends light beat-keeping with sharp, intense polyrhythms) push Evans to new heights of expression on originals ("Turn Out the Stars") and on numerous standards ("Stella by Starlight" and "'Round Midnight" are highlights). That Evans matches the depth of his usual lyricism with high-spirited, ferocious swing makes this set a necessary addition to any fan's collection. Liner Note Author: Peter Keepnews. Recording information: The Village Vanguard (08/17/1967/08/18/1967); Village Vanguard, New York, NY (08/17/1967/08/18/1967). Editor: Frank Laico. Personnel: Bill Evans (piano); Bill Evans ; Eddie Gomez (bass guitar); Philly Joe Jones (drums). Audio Mixer: Frank Laico.